Category Archives: Theatre

Review of the Year 2024 – The Fourteenth Annual Chrisparkle Awards

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Greetings again, gentle reader, to the glamorous showbiz highlight of the year, the announcement of the annual Chrisparkle Awards for 2024. This year was a record-breaker for me in that I saw 254 productions throughout the year – three more than last year; and that’s an awful lot of shows! Eligibility for the awards means a) they were performed in the UK and b) I have to have seen the shows and reviewed them in the period 10th January 2024 to 4th January 2025. Are you all sitting comfortably? Then we’ll begin!

 

The first award is for Best Dance Production (Contemporary and Classical)

This includes dance seen at the Edinburgh Fringe, however none of the top three comes from that prestigious festival! These are the top three:

In 3rd place, the informal collection of dances by stars of the future in Birmingham Royal Ballet BRB2, Carlos Acosta’s Classical Selection, at the Royal and Derngate, Northampton, in May.

In 2nd place, the powerful Romeo and Juliet performed by Northern Ballet in association with the Royal Shakespeare Company, at the Royal Shakespeare Theatre, Stratford-upon-Avon, in September.

In 1st place, the irrepressible Matthew Bourne’s Swan Lake, performed by New Adventures at Sadlers Wells, London, in December.

 

Classical Music Concert of the Year.

We saw three classical concerts this year, all by the Royal Philharmonic Orchestra at the Royal and Derngate in Northampton. The award for the best goes to their Film Music Gala in November.

 

Best Entertainment Show of the Year.

This means anything that doesn’t fall into any other categories – for example pantos, circuses, revues and anything else hard to classify. Here are the top three:

In 3rd place, our local pantomime, Cinderella at the Royal and Derngate, Northampton, in December.

In 2nd place, the extraordinary spectacular extravaganza that is Robin Hood at the London Palladium in December.

In 1st place, the outstanding and uniquely successful Snow White at the Lyceum Theatre, Sheffield, in December.

 

Best Star Standup of the Year.

Last year this award was combined with the Comedy Crate/Screaming Blue Murder award, but this year the committee decided to return to its previous practice of splitting them in two. So here are the top five performances by Star Standups in 2024:

In 5th place, the effortlessly compelling humour of Sarah Keyworth in her My Eyes Are Up Here Tour, at the Royal and Derngate, Northampton, in September.

In 4th place, the daring and groundbreaking comedy of Omid Djalili as part of the Mixed Bill Megashow at the Royal and Derngate in April.

In 3rd place, the return of the OG PC comedian par excellence, Ben Elton in his Authentic Stupidity Tour at the Royal and Derngate in November.

In 2nd place, the utterly hysterical and always reliable Sarah Millican in her Late Bloomer Tour at the Royal and Derngate in January.

In 1st place, a comedian with a unique place in the nation’s heart, Guz Khan in his Live Tour at the Milton Keynes Theatre in January.

 

Best Comedy Crate/Screaming Blue Murder Standup of the Year

In 5th place, the experienced and consummate comedian Richard Morton (Screaming Blue Murder – March)

In 4th place, the fabulous Maisie Adam (Comedy Crate Edinburgh Preview Weekender – July)

In 3rd place, the total superstar that is Jen Brister (Comedy Crate – March)

In 2nd place, the evergreen and always deeply creative, Paul Sinha (Comedy Crate – September)

In 1st place, for the second year running, the comedy powerhouse that is Tom Stade (Comedy Crate Edinburgh Preview – July)

 

Best Musical.

I saw fourteen musicals this year, by far the majority were revivals, which just goes to show how difficult it can be to find a new musical! Seven made the shortlist and here’s the top five:

In 5th place, a show that’s just going to grow and grow over the years, Titanique at the Criterion Theatre, London, in December.

In 4th place, a superbly enjoyable production of a favourite show, Hello Dolly at the London Palladium, in July.

In 3rd place, a show that has become synonymous with the kindness of the human spirit, the touring production of Come From Away at the Curve Theatre, Leicester, in March.

In 2nd place, the amazingly successfully revitalised Oliver! at the Festival Theatre, Chichester, in September.

In 1st place, despite a couple of criticisms of its updating, there is no finer musical than A Chorus Line, at the Curve Theatre, Leicester, in July.

I must make an honourable mention of the wonderful Our Little Hour that ran for three nights at the Royal and Derngate, Northampton, in October. It’s impossible to compare it with the other huge productions here, but it fully deserved its five stars from me!

 

Best New Play.

Just to clarify, this is my definition of a new play, which is something that’s new to me and to most of its audience – so it might have been around before but on its first UK tour, or a new adaptation of a work originally in another format. Just like last year, we saw eighteen new plays this year, but I only awarded five stars to two of them; I’m definitely getting stricter in my old age!

In 5th place, Apphia Campbell’s incredible one woman play inspired by the life of Nina Simone, Black is the Color of my Voice at the Minerva Theatre, Chichester, in February.

In 4th place, Mike Poulton’s riveting adaptation of Philippa Gregory’s novel about Mary Boleyn, The Other Boleyn Girl, at the Festival Theatre, Chichester, in May.

In 3rd place, the thrillingly unusual and highly entertaining account of the Rolling Stones, Marianne Faithfull and the young Nigel Havers, Charlotte Jones’ Redlands, at the Festival Theatre, Chichester, in October.

In 2nd place, a terrifying look at modern day democracy, David Edgar’s The New Real for the Royal Shakespeare Company at the Other Place, Stratford-upon-Avon, in October.

In 1st place, Emma Rice’s stunning, heartwarming and endlessly fascinating adaptation of Hanif Kureishi’s The Buddha of Suburbia for the Royal Shakespeare Company at the Swan Theatre, Stratford-upon-Avon, in April.

 

Best Revival of a Play.

I saw twenty-two revivals, leading to a shortlist of eight, and here’s the very closely fought top five:

In 5th place, the RSC’s laugh-a-second production of Shakespeare’s Merry Wives of Windsor at the Royal Shakespeare Theatre, Stratford-upon-Avon, in June.

In 4th place, the immaculate acting and characterisations in Pinter’s still immensely powerful The Caretaker, at the Minerva Theatre, Chichester, in June.

In 3rd place, the joyful inventiveness of the RSC’s sensational Twelfth Night, at the Royal Shakespeare Theatre, Stratford-upon-Avon, in December.

In 2nd place, the RSC’s literally magical production of Shakespeare’s Midsummer Night’s Dream, at the Royal Shakespeare Theatre, Stratford-upon-Avon, in February.

In 1st place, the captivatingly hilarious and outrageous production of Oscar Wilde’s The Importance of Being Earnest, for the National Theatre at the Lyttelton Theatre, London, in December.

As always, in the post-Christmas season, it’s time to consider the turkey of the year – and whilst it very nearly went to the ambitious but falling-short-of-the-mark Spymonkey’s The Frogs at the Royal and Derngate, Northampton, the most disappointing production I saw all year was the RSC’s Othello at Stratford’s Royal Shakespeare Theatre.

Now we come on to our four categories specifically for the Edinburgh Fringe. The first is:

 

Best play or musical – Edinburgh

I would normally have included musicals in with the “Best of the Rest” category, but I feel it is more appropriate to include them in the “Best Play” category. We saw 90 productions of plays and musicals in Edinburgh this year, 13 of them got 5* from me, and here are the top 5:

In 5th place, Sarah Cameron-West’s self-performed hilarious and memorable journey through heartbreak and beyond, KAREN (Underbelly Cowgate)

In 4th place, another extraordinary one-woman play, about how a celebrant can become triggered by their work, Catafalque, written by Amy Conway and produced by Scissor Kick (Summerhall)

In 3rd place, a hilarious play that made you look at a familiar story from a completely different direction, Galahad Takes a Bath, written by Jojo Jones and produced by Juggler’s Mistake (Zoo Southside)

In 2nd place, a moving and superbly structured musical based on a true story, Our Little Secret: The 23andMe Musical, written by Noam Tomaschoff and Ryan Peters and produced by Russell Citron (Gilded Balloon Patter House)

In 1st place, the brilliantly created, extremely funny and superbly performed look at living with Climate Change, Weather Girl, written by Brian Watkins (Summerhall)

 

Best Individual Performance in a Play or Musical – Edinburgh

As always, an impossible choice, and it’s as close as close can be. Nevertheless, here are the top five:

In 5th place, Lucas English for The Shadow Boxer (TheSpace @ Niddry Street)

In 4th place, Forest Malley for Galahad Takes a Bath (Zoo Southside)

In 3rd place, Jennifer Vuletic for MILF and the Mistress (TheSpace @ Niddry Street)

In 2nd place, Julia McDermott for Weather Girl (Summerhall)

In 1st place, Noam Tomaschoff for Our Little Secret: The 23andMe Musical (Gilded Balloon Patter House)

 

Best Comedy Performance – Edinburgh

A change from previous years, where this category was entitled Best Stand-up Comedy Show; this now includes sketch shows and otherwise undefinable comedy performances! We saw fifty-five comedy shows this year, but only six received 5* from me, and here are my top five:

In 5th place, boldly going where angels fear to tread, Garry Starr with his Classic Penguins show (Pleasance Courtyard)

In 4th place, the clever combination of brilliant comedy with a touch of sadness, Tom Greaves with his Fudgey show (Assembly Roxy)

In 3rd place, the irresistibly engaging Josh Jones with his Put a Sock in It show (Monkey Barrel at the Tron)

In 2nd place, the innately funny Robin Grainger with his beautifully structured Refurb show (The Stand Comedy Club 2)

In 1st place, the incredibly inventive and outrageously funny Emma Sidi with her Emma Sidi is Sue Gray show (Pleasance Courtyard)

 

Best of the rest – Edinburgh

From a shortlist of eight, here are my top five:

In 5th place, the amazing magic and entertainment of Pete Heat: Bogus (Pleasance Dome)

In 4th place, the terrific cabaret combination of Frances Ruffelle and Norman Bowman in The Scot and the Showgirl  (Pleasance Dome)

In 3rd place, a true tour de force by Sarah Louise Young in I Am Your Tribute (Voodoo Rooms)

In 2nd place, fantastic music delivered with a message for the world, Janie Dee’s Beautiful World Cabaret (Pleasance Dome)

In 1st place, and I still don’t know why she hasn’t been given her own chat show, the incredibly entertaining Mhairi Black: Politics isn’t For Me (Gilded Balloon at the Museum)

Unlike last year, I didn’t award any Edinburgh shows the dreaded One Star review. However, there are still several contenders for this year’s Edinburgh turkey, of which I feel I must draw to your attention two; FUFC (TheSpace on the Mile) had a powerful message about prostate cancer but was poorly written and acted, and almost the opposite, Nerine Skinner’s The Exorcism of Liz Truss (Just the Tonic at the Caves) boasts a brilliant impersonation of Liz Truss but dull material that goes nowhere.

 

Best Performance by an Actress in a Musical.

Time to get personal. Here’s the top five:

In 5th place, Jenna Russell as Irene in Hello Dolly at the London Palladium in July.

In 4th place, Georgina Onuorah as both Audrey in Little Shop of Horrors at the Crucible Theatre, Sheffield, in December, and as Lois in Kiss Me Kate at the Barbican Theatre, London, in July.

In 3rd place, Kat Ronney as Rose in Titanique at the Criterion Theatre, London, in December.

In 2nd place, Molly Lynch as Eliza Doolittle in My Fair Lady at the Curve Theatre, Leicester, in December.

In 1st place, Imelda Staunton as Dolly in Hello Dolly at the London Palladium in July.

 

Best Performance by an Actor in a Musical.

Here’s the top five:

In 5th place, David Seadon-Young as Henry Higgins in My Fair Lady at the Curve Theatre, Leicester, in December.

In 4th place, Marley Fenton as Danny in Grease at the Royal and Derngate, Northampton, in May.

In 3rd place, Jordan Luke Gage as Cal in Titanique at the Criterion Theatre, London, in December.

In 2nd place, Layton Williams as Seaman/Iceberg in Titanique at the Criterion Theatre, London, in December.

In 1st place, Simon Lipkin as Fagin in Oliver! at the Festival Theatre, Chichester, in September.

 

Best Performance by an Actress in a Play.

Seventeen in the longlist, and six in the shortlist, and here’s the top five:

In 5th place, Apphia Campbell as Nina Simone in Black is the Color of my Voice, Minerva Theatre, Chichester, in February.

In 4th place, Martina Laird as Rachel Moss in The New Real, The Other Place, Stratford-upon-Avon, in October.

In 3rd place, Freema Ageyman as Olivia in Twelfth Night, at the Royal Shakespeare Theatre, Stratford-upon-Avon, in December.

In 2nd place, Jodie Whittaker as The Duchess in The Duchess, at the Trafalgar Theatre, London,in November.

In 1st place, Sharon D Clarke as Lady Bracknell in The Importance of Being Earnest, at the National Theatre Lyttelton, in December.

 

Best Performance by an Actor in a Play.

Twenty-one in the longlist and ten in the shortlist, each of whom could easily deserve the award, However, here is the top five:

In 5th place, Luke Thompson as Berowne in Love’s Labour’s Lost, at the Royal Shakespeare Theatre, Stratford-upon-Avon in April.

In 4th place, Hugh Skinner as Jack in The Importance of Being Earnest, at the National Theatre Lyttelton, in December.

In 3rd place, Ncuti Gatwa as Algernon in The Importance of Being Earnest, at the National Theatre Lyttelton, in December.

In 2nd place, Ian McDiarmid as Davies in The Caretaker, at the Minerva Theatre, Chichester, in June.

In 1st place, Mathew Baynton as Bottom in A Midsummer Night’s Dream, at the Royal Shakespeare Theatre, Stratford-upon-Avon, in February.

 

Congratulations to the winners, commiserations to the losers and thanks for your company again throughout the year, gentle reader. Here’s to another year full of artistic excellence!

Review – Robin Hood, London Palladium, 29th December 2024

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Attending the annual pantomime at the London Palladium has been a highlight of my year since childhood, and as the years go by that excitement has let up not one jot. For Christmas 2024, Crossroads Pantomimes have given us Robin Hood, and of course no expense has been spared to make this even more lavish, spectacular, colourful and, let’s face it, excessive than previous years.

This is the first time that perennial pleasure Julian Clary has ever embodied the eponymous character role at the Palladium panto. He’s still as delighted as ever to receive a warm hand upon his entrance, but he yields top billing to Channel 5 Cruising Superstar (I think that’s how he announces her) Jane McDonald, who, as Maid Marion, brings her own special musical magic to the show.

Most of the other usual suspects are there – Nigel Havers, getting progressively more teased every year about appearing yet again (at his age, I ask you), Paul Zerdin (plus Sam) getting the kids on his side (we’re all kids at the Palladium panto), as well as more recent treasures Charlie Stemp and Rob Madge. Missing in action this year is Gary Wilmot (currently to be found in the company of Robert Bolt’s Man for all Seasons as the Common Man touring to a theatre near you shortly) but instead we are blessed with the vivacious and officially fabulous Marisha Wallace as the Sheriff of Nottingham and the whopping great presence of Tosh Wanogho-Maud as the mischievously cast Little John.

Sometimes the Palladium pantos make some kind of narrative sense; sometimes they’re just a serving suggestion of a story. This year most of the plot makes hardly any sense at all, but nobody minds. I can’t remember what the excuse for the 3D sequence is, but it is very exciting – Straight Outta Disneyland, in fact. And there is a ten-part If I were not upon the stage something else I’d rather be fugue sequence performed as exquisitely as ever by Messrs Clary, Stemp, Havers, Zerdin and Wanogho-Maud, and is the true highlight of the show; what Little John does with his truncheon is, frankly, obscene, but hilarious. The other standout moments for me are Jane McDonald singing You’re My World from her castle dungeon – an immaculate song sung immaculately – and Charlie Stemp leading the villagers with a rousing Sherwood Forest version of Chitty Chitty Bang Bang’s Me Old Bamboo.

But I must be honest, gentle reader; something about this panto doesn’t quite gel, and, amazing to relate, this was the only one of the four shows I saw over the Christmas period that didn’t get a standing ovation – something you would normally expect as automatic for the Palladium panto. Because Robin Hood doesn’t end with a Royal Wedding (unusual for a Panto), the curtain call comes along as something of a surprise, and I don’t think theaudience is ready for it; you feel like there should be just one more scene somehow. And certain aspects of the show don’t quite land as well as they normally do. For me there is a certain degree of miscasting this year and a couple of performers who are at the top of their careers just didn’t feel comfortable in some of their scenes. And there isn’t enough Sam! We welcome Mr Z  (as Will Scarlet) on stage many times but rarely in the company of his other half.

Don’t get me wrong, this is still a hugely enjoyable and all-round gigantic production, full of music and laughter; but for me it wasn’t quite up to the same high standard as previous years. You won’t keep me away from next year’s production though!

 

4-starsFour They’re Jolly Good Fellows!

Review – The Importance of Being Earnest, National Theatre Lyttelton, 28th December 2024

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Oscar Wilde has always been known for the vivacity of both his writing and his lifestyle. If ever there was an early exponent of today’s you do you message, it’s Wilde. Max Webster’s brilliant vision for this new production of The Importance of Being Earnest is to highlight its celebration of all things gay which has been hiding in plain sight all these years. It’s both fascinating and laudable to see that he achieves this with the minimal amount of liberty-taking with Wilde’s original text.I was expecting something along the lines of Zinnie Harris’ rewriting of The Duchess (of Malfi) as seen recently at the Trafalgar theatre; clever, but merely a serving suggestion of John Webster’s text. Here, there is no need to make changes what Wilde has already written; just a few tiny modern additions bring it forward 130 years (yes it really did first appear in 1895) and it’s as fresh and as funny as it ever was.

In fact, dare I say it, even more so. Algernon Moncrieff (but we can call him Algy) is still living a debauched, carefree existence in town without the means to pay for it and getting out of commitments he doesn’t fancy by pretending his ill friend Bunbury needs his attention. Jack is still his bestie, subsidising Algy’s appetite for the good life, and using their association to get closer to Algy’s cousin Gwendolen with whom he is passionately in love. Except… there’s no doubt here that Algy and Jack’s relationship goes a lot deeper than this, even if Jack isn’t fully aware of it (Algy certainly is). It’s also delightfully balanced by a similar recognition between Gwendolen and Jack’s ward Cecily; their sudden friendship, then enmity, then friendship again is clearly more than mere girl power.

What’s extraordinary in this production is that all this is done with the utmost lightness of touch. There’s no heavy-handedness or labouring any of the points it wishes to make; nothing is forced, it’s all purely natural. And you feel that Webster’s version has truly lifted the lid on this perpetually marvellous play and delved even deeper. It’s like finishing the first tray of a box of chocolates only to discover there’s a whole new selection of goodies in the tray underneath.

I’m unwilling to spoil any of the surprises in the production, although it is bookended by two truly fabulous flights of fancy with a very pink first scene – the official production photos reveal this very unusual opening – and an outrageously over the top curtain call. Even then, it’s stunning how Algy’s Liberace moment melds perfectly into his opening conversation with his manservant Lane. For all its 100% gayness, the production simply works on every level and remains remarkably truthful to the original.

But here’s a few titillating moments to with which to tease you: watch out for Algy’s unsuppressed reaction when he discovers that Cecily is worth £130,000 in the Funds, and the initial letters of the volumes that Jack pulls out of the library when he’s looking for the Army Lists. Laugh too at the list of bills Algy tears up at the end of Act One, and the perfectly chosen extracts of modern songs that occasionally appear throughout the show. Normally I bridle at anachronistic use of music in a play but here it works hilariously well.

Beautifully staged, with a superb set and costume design by Rae Smith (Algy’s first act suit must be worth thousands), the famous handbag is given pride of place on entering the auditorium, only to be gently whisked away and concealed till needed; when it does return, it appears literally as a deus ex machina. And Max Webster has assembled a dream ensemble who exceed all expectations in their perfectly cast roles.

Heading the cast is Sharon D Clarke as Lady Bracknell, a terrifyingly no-nonsense Caribbean matriarch who relishes every sentence and always takes complete control of the situation, even when things take unexpected turns. Whatever preconceptions you may have of how Lady Bracknell should speak or appear, prepare to be amazed at Ms Clarke’s performance.

I’ve only seen Ncuti Gatwa on TV as Doctor Who and didn’t know what to expect from him as a stage performer, but I was literally blown away. He has truly incredible charisma, filling the theatre with joy by his facial expressions, perfect comic timing and extraordinary versatility. I’ve never been so surprised to see an actor do something so unexpectedly delightful, and I can’t wait to follow his stage career in future. He’s perfectly matched by a brilliant comic performance by Hugh Skinner who again I only know from TV’s W1A. He gives a fantastic physicality to his performance, with a totally convincing characterisation, stuffed with endless comedy highlights.

The other superb comic performance comes from Ronkẹ Adékoluẹjo as Gwendolen, gleefully playing up to both Jack and Cecily with barely concealed sexual excitement, a total powerhouse of activity and comic inventiveness. Eliza Scanlen’s Cecily gives a terrific portrayal of a not-quite-spoilt young woman finding her way in the world, Amanda Lawrence gives us a rather wretched Miss Prism clinging on to respectability when she is so publicly shamed, Richard Cant’s Chasuble is a splendidly earnest (there’s that wordagain) chap who holds a very bright candle for Prism indeed, and Julian Bleach’s two butler manservants are so very differently characterised – his lolloping Merriman is a feat of comic genius in itself.

One of those magic theatrical experiences where you simply run out of superlatives. Ernest, Jack and Algy are alive and well and not just living but thriving on the South Bank. The Importance of Being Earnest is playing until 25 January, but many of the remaining performances are sold out – and it hits the cinemas from 20th February. You’ve seen reviews of plays that claim “it’s a revelation” – this time it really is.

Five Alive, Let Theatre Thrive!

Review – Titanique, Criterion Theatre, London, 27th December 2024

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Titanique sails into London riding the crest of a wave of compliments from its productions off-Broadway, in Australia and in Canada. With a preview schedule almost longer than James Cameron’s original film, and very decently priced seats for the West End, it was the perfect choice for the first show of our post-Christmas London theatre splurge. Talking of the film, we’d never seen it (yes, I know) and decided that we should watch it before seeing this show – and it was the wisest of moves. If you’ve never seen Titanic, Titanique will make little sense. However, if you have seen it, you’ll realise that this is a dream of a parody show that hits the ground (sea?) running and never lets up with its amazing energy and blistering humour for a full 100 minutes and no interval.

The premise is, admittedly, bizarre. Suspend your disbelief and imagine that one of the passengers on the Titanic’s one and only sailing was Canada’s gift to the world of showbusiness, Celine Dion. Let’s face it, it would have been the perfect journey for such a top celeb. Celine takes us through those fateful few days of navigational disaster, introducing us to Rose (Kat Ronney), Jack (Rob Houchen), the ghastly Cal (Jordan Luke Gage), the unsinkable Molly (Charlotte Wakefield) and Rose’s awful mum Ruth (Stephen Guarino).The ship builder, played in the film by Victor Garber, is here played as Victor Garber (played by Darren Bennett); the iceberg, portrayed in the film as an early CGI piece of cellophane, is here represented with much more pizzazz by Layton Williams. We also get to meet Peabo Bryson, Tina Turner, and Luigi from Super Mario, and are treated to several numbers from the Celine Dion playlist, although I can’t recall her version of Who Let The Dogs Out. All very 1912, as I’m sure you’ll agree.

The only thing this show lacks is subtlety; everything else it has in abundance. Adam Wachter’s four-piece band produces more depth, volume and musical brilliance than you can imagine, filling every inch of the intimate setting of the Criterion Theatre. There’s a bright and inviting set, the costumes and lighting are excellent, and the use of props hilarious – we finally get to discover what the original use was for that vital door that eventually carries our heroine Rose to safety (you’ll never guess). And the eight-strong cast all put in an extraordinary performance of commitment, comedy and incredible musicality.

For our performance, Celine Dion was played by understudy Kristina Walz and she is stunning. Her portrayal is so accurate, so mischievous, yet so affectionate too, that La Dion could have been in the room. I’ve never really been that fond of My Heart Will Go On (I’m more of a Think Twice man, personally) but she gave it such power and meaning that I’ve had to change my mind. It’s a brilliant performance. Musically, every single member of the cast gives a truly star performance that it takes your breathaway – Jordan Luke Gage has a superb voice that comes through in every number, Charlotte Wakefield’s All By Myself is stunning and Layton Williams channelling his Tina Turner with an incredible River Deep Mountain High is probably the highlight of the show. Stephen Guarino’s endless bitchy asides as the dreadful Ruth keep you in stitches, but the whole cast perform with such heart and a thrilling enjoyment of what they are doing that you feel yourself tingle with pleasure throughout the show.

Yes, there were one or two punchlines that didn’t quite work but that’s the beauty of an extended preview run, and I am sure that when the show is fully established this will be an unmissable winner. Currently scheduled to run until the end of March, but surely that will be extended. A lethal combination of musical brilliance and comic genius, and I can’t wait to go again.

Five Alive, Let Theatre Thrive!

Review – Cinderella, Royal and Derngate, Northampton, 21st December 2024

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The big panto at the Royal and Derngate for Christmas ‘24 is Cinderella, one of the best loved panto stories of all time, and given all the colourful, brash treatment you would expect from Evolution Productions. All the vital elements are there – lots of singing and dancing, vivacious and eccentric costumes, putting the spotlight on one poor bloke in the audience for unwanted advances from the Ugly Sisters (well done to Jamie for taking one for the team), a ghost bench, a favourite children’s TV star, a Fairy Godmother, and of course a happy ending.

One of the joys of a well done panto is its ability to appeal to an audience of all ages. It’s most important that it captivates the children – after all, they are the theatregoers of the future – but it also needs to have plenty in it for the mums and dads. This particular production is heavily targeted at the youngsters, and it’s a pleasure to see how enraptured they are by it, with very noisy audience participation in the singalongs and pointing out the ghosties.

One of the more interesting aspects of this production is how it addresses some stereotyping that you find in every panto – with Muriel the overconfident eight year old stepping in to point out that Cinderella doesn’t need a Prince Charming to be a fully realised woman, and that if she’s cooking and cleaning for her sisters then she’s doing it on her own terms. Cue at least 50% of the audience quietly muttering You Go Gurl under their breath. This Cinderella is not the usual browbeaten drudge who caves in at bullying; rather, she calls it out and challenges the sisters for their outrageous treatment of her. When she tells them that she refuses to cry no matter what they do to her, you realise this is an excellent life lesson for the children to learn and may give confidence to any kids present who are being bullied at school. It’s a shame then, that this message does not follow through; when they later insist that she tears up her invitation to the Royal Ball she rather pathetically complies, instead of telling them to stick their vindictiveness where the sun doesn’t shine. It’s an unfortunate inconsistency in the characterisation.

Our Fairy Godmother, played by Joanne Clifton, is still earning her stripes and she won’t get a magic wand unless she manages to make two people fall in love for who they are rather than for their titles; it’s another interesting modern message, this fairy isn’t merely matchmaking a Prince and Princess. Naturally Ms Clifton brings all her dancing skills to the role, and there are lots of Strictly Come Dancing elements to the show. However, she hasn’t been part of Strictly for eight years now, and with her other stage credits in between, I do wonder how much longer this association remains credible; and despite her enthusiasm, I did feel she struggled to come across to the audience.

Andy Day’s Andini (not Dandini – you can see what they did there) fared better with the hordes of kids who just adore him; he has an excellent role-swapping relationship with his Prince Charming and works through the Barrowful of Puns with Dave Bibby’s Buttons with entertaining aplomb. Mr Bibby is at his best when expressing his unrequited love for Cinderella and how upset he is at the fact that she loves him only as a brother. Gordon Cooper and Matt Daines’ wicked stepsisters are a gruesome twosome who unite vanity and cruelty in equal measure, and their prime victim, Marcavia McCarthy’s Cinderella, has a superb voice and is an excellent match for Marcellus Whyte’s Prince Charming.

But here’s the thing: something about this panto just doesn’t gel properly. Despite all its first-rate elements, it’s one of those occasions when its sum is less than its parts. I don’t think it was the funniest of scripts, at times it seems to move along rather slowly and lacks energy, and I fear some of the characterisations are rather bland. I don’t think I am alone; at the end of the show, when the cast galvanise everyone to get up on their feet and clap along with the final number, hardly anyone did. Nevertheless, there was plenty of enthusiasm from the kids in the audience throughout the show and I’m sure many families went home beaming from ear to ear. It just slightly missed the mark for me.

3-starsThree-sy Does It!

Review – Little Shop of Horrors, Crucible Theatre, Sheffield, 19th December 2024

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When I saw that the Sheffield Crucible were staging Little Shop of Horrors as their Christmas musical this year my heart leapt. One of my favourite memories from ever watching a show was the first time I saw LSOH in 1984 at the then named Comedy Theatre in London; I still recall the genuinely terrifying moment at the end when unseen tendrils descended from the roof and gently touched my face and hair without my knowing where they had come from – they gave me the fright of my life!

Forty years on, Amy Hodge brings a new production to the Crucible with its wide open spaces and new challenges as to how to present the show; and the whole team has done a fine job in updating it, with some bold staging decisions which certainly pleased a large percentage of the audience at Thursday’s matinee, but didn’t always sit quite right with me.

But let’s not run before we can walk. I’m sure you know the concept behind Little Shop of Horrors, but just in case… Mushnik’s flower shop on Skid Row is down on its uppers; a dead beat location, an unmotivated staff and Mr Mushnik is just about ready to shut up shop for good, when his assistant Seymour shows him a new plant he’s been cultivating. Its creation coincided with an unexpected total eclipse, which seems to have given it a life of its own. Unfortunately for Seymour, it thrives on blood, and, because it’s his protégé, he feels obliged to feed it a few of his own red drops every day. He calls the plant Audrey II, in honour of his much admired colleague Audrey who doesn’t seem to notice him – she only has time for her sadistic boyfriend who assaults her. However, Audrey II grows, and grows – and becomes celebrated in the neighbourhood, transforming the fortunes of the shop and Mushnik’s income. What could possibly go wrong? You’ll have to come and see the show if you don’t know!

Georgia Lowe has created a very inventive set that combines the destitution of Skid Row with modern digital interfaces as well as the traditional florist shop. I love how the refuse bins at the side of the stage become their own acting spaces – extremely clever! Of course, the big challenge is how to create Audrey II. In the past it has been brought to life purely by means of puppetry and an offstage actor’s voice. But in this production, Audrey II is now performed by an actor, who gradually increases in power and vocality by means of additional mouths and stems, separately animated by other actors.

Despite Sam Buttery’s excellent vocal performance, I simply couldn’t believe in this presentation. Separating the different elements of Audrey II’s body (for want of a better word) so clearly stops us from believing in its being one plant and not several; and seeing Sam Buttery’s face at a relatively early stage in the performance also prevents our own imaginations from working to imagine the increasingly horrific appearance of the plant. Once seen, Audrey II’s identity is fixed in our brains, so there’s no route for her to get scarier, and, despite all the other actors lugging around enormous green shoots and tendrils, you never really get the impression of Audrey II’s overwhelming growth.

The show is clearly set on Skid Row; a distinctly American term for a down-at-heel environment, and the Americanisms of the original show are all still there in full force – prices are given in dollars, and when we see money being handled, it’s undoubtedly American greenbacks. However, Seymour has a pure strong Brummie accent, Orin speaks the Full King’s English, and the chorus of street girls are as London as you can get; in fact, there’s not an American accent anywhere to be heard. Don’t get me wrong; I found it rather refreshing to witness a very British Little Shop of Horrors, but it reveals a huge disconnect between the performance and the material, which just doesn’t feel right.

Fortunately, the performances are extremely good, with some outstanding vocals and characterisations. Wilf Scolding does a terrific job of portraying just how vile Orin is, and he mines all the humour out of the excellent Be a Dentist. Lizzy Rose Esin Kelly, Paige Fenlon and Charlotte Jaconelli give us great harmonies as the Ronette/Chiffon/Crystal girls, and there’s great support from Michael Matus’ Mushnik and indeed the whole talented ensemble.

In the lead roles, Sam Buttery’s powerful voice leaves us in no doubt as to the menace of Audrey II’s appetite, and Colin Ryan’s Seymour is nicely nerdy, like a green-fingered IT specialist. Georgina Onuorah is sensational as Audrey, with a stunning voice and a powerful, emotional delivery. It says a lot for their performances that, despite all the high energy, flashy dancing and big rocky numbers, the two stand-out moments were Ms Onuorah’s fantastic Somewhere That’s Green in the first Act and her shared Suddenly Seymour with Mr Ryan in the second. For me, these heartfelt, plaintive performances really blew the rest of the show out of the water.

One can only admire the creativity and inventiveness that went into bringing this show to the stage, and the audience went wild for it. Remember – always stick to regular plant food, much the safest way. Little Shop of Horrors is on at the Crucible until 18th January.

 

4-starsFour They’re Jolly Good Fellows!

Review – Snow White, Lyceum Theatre, Sheffield, 18th December 2024

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Whilst there are ravens at the Tower of London, a debate about whether it’s cream or jam first, and leaves on the line bring the country to a standstill, you know that Damian Williams will appear as the Dame at the Sheffield Lyceum panto. This year his Nurse Nellie crops up in Snow White, a fairytale known for its important role of a fat bloke in a dress. (It isn’t really, but when did that matter?)

There’s always a huge buzz of anticipation for this annual treat as the packed audience look forward to ticking off each of the elements that they love and know will entertain them throughout the show. From the Bring Me Sunshine introduction, to selecting Nellie’s new boyfriend from the audience, to becoming a member of Muddles’ gang, to the ghost/bench scene, to Damian trying to make Prince Charming corpse, and of course ending up with a big wedding celebration, Snow White is full of the usual joys of the Christmas season, delivered with heart and commitment, and always extremely funny.

Heading the cast this year is Coronation Street’s Catherine Tyldesley, bringing a rather elegant villainy to the role of the Wicked Queen, and astounding us all with her sensational voice. Marc Pickering also returns as Henchman Herman, having given us his Luke Backinanger in Jack and the Beanstalk two years ago.His dream (this year) is to perform as Elton John; no surprises then, as to the nature of the big finale number. Matthew Croke and Aoife Kenny provide a terrific musical pairing as Prince Charming and Snow White, George Akid’s Muddles keeps us all shouting at him on his every appearance, and there’s some unexpected fun in the form of Quang Luong’s Henchman Viper – the Gladiator hero of the same name.

Dean Whatton’s Sarge leads a very entertaining and musical “Seven”; I particularly liked Binde Singh Johal’s rather cynical Kevin, who, at the realisation that Snow White has died (she hasn’t really, kids) just says “ah well, takeaway tonight lads”.There’s an additional member of the cast when the irrepressibly energetic musical director James Harrison – I’ll have what he’s having – joins the regulars for the bench sketch.

But it’s Damian Williams whom we’re all here to see, and once again he comes up trumps with a hilarious and punchy performance, outrageously dressed throughout, never missing an opportunity to plug this year’s sponsors, Henderson’s Relish – there are even special Damian bottles of Hendo’s with his face on, that’s how established in the Sheffield scene he is. My favourite gag this year mentioned Yakult as part of the punchline, but I won’t spoil it for everyone else.

My only quibble with this year’s production is that the amplification of the superb four-piece band was so powerful that there was a little distortion and I couldn’t always make out the lyrics to the big songs. But rest assured we have already secured our tickets for Aladdin next year. I think you should too!

4-starsFour They’re Jolly Good Fellows!

Review – Twelfth Night, RSC at the Royal Shakespeare Theatre, Stratford-upon-Avon, 17th December 2024

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What could be more festive than a Christmas production of Shakespeare’s perennial favourite, Twelfth Night, with its separated twins, foppish companion, cross-garter’d steward and – naturally – a girl dressed as a boy. It simply wouldn’t be Christmas without it. This is one of Shakespeare’s most robust comedies, able to survive the slings and arrows of outrageous directorial decisions, always bouncing back again in rude health for another production.

ViolaAny outrageous decisions made by director Prasanna Puwananarajah fully emphasise his vision to set it in an indistinct but modern era and give it a yuletide boot up the backside with some superbly inventive comedy to set against the darker aspects of the plot, whilst still staying pretty much faithful to the original. And one of the ways in which this production stands out is the ease with which it flips from hilarity to darkness with a truly deft sense of balance.

Orsino and CesarioIt can be very tempting to overlook the cruelty and sadness that lurks beneath the surface of this play. The twins individually mourn the supposed loss of their sibling. Disloyalty and pretence abound; if you’re not part of the in-crowd, you’re definitely out. Sir Toby and Maria may head up their own clique when it comes to fooling Aguecheek or bullying Malvolio, but when it comes to the crunch, they don’t have any real power and get swatted down by Olivia like flies to wanton boys (wrong play, but you get my gist.)

AntonioNowhere is this clearer than with the pure decency of the character of Antonio, who gives up everything simply to serve Sebastian; bewildered by his master’s apparent denials, he is left with the bitter realisation that his generosity has been cruelly abused. And even Malvolio has feelings; he may be a puritanical killjoy, but the revenge that’s meted out on him by Olivia’s household crosses the boundary from playful teasing to outright cruelty. It’s the moment when Shakespeare becomes such a great comic writer that he bears comparison with Ayckbourn. (see end)

OliviaAnother stand-out aspect of the production is its sheer honesty and credibility. There’s not one caricature nor over-the-top characterisation; every member of the cast delivers a truly believable performance, and every situation the production presents us is recognisable and makes complete sense, despite often appearing side-by-side with something theatrically magical. Some small examples: the priest is definitely the kind of person who would drink from an I Heart Jesus mug. This particular Olivia, when trying to impress Cesario on their first meeting, would definitely castigate themselves afterwards for their idiotic use of language – What is your parentage? What was I thinking!!  Orsino’s court appears to be 100% staffed by gay men who dance together – it isn’t questioned, nor does it have to be. It just is. And it helps make sense of his initial attraction to Cesario.

FesteAnd it is genuinely thrilling to see the character of Feste, so often an awkward character to get right, brought to the fore as arguably the most central character of the entire play. He blends perfectly with all the technical aspects of the production, outlandishly dressed in one of James Cotterill’s more ridiculous costumes, magically appearing from the sky, and either manipulating or being manipulated by Zoe Spurr’s fantastic lighting design and George Dennis’ sound design. He sings Matt Maltese’s musical settings of those difficult Shakespearean songs with such genuine emotion that you want to listen to them carefully rather than – as with most Shakespearean songs – just looking forward to the moment they stop and the play can carry on.

Organ PipesAnd I haven’t mentioned the set; dominated, for the most part, by an enormous organ, with pipes so big you can hide behind, magically controlled by Feste seemingly bringing it forward and back with the power of his own summoning arms. It also provides the perfect joke when Orsino and his men arrive at Olivia’s house bearing the gift of an organ; their shock at the size of the one already installed requires their measly offering to be shunted unceremoniously offstage in embarrassment. You’ve never seen Organ Envy like it.

MalvolioGwyneth Keyworth gives us a very earnest and no-nonsense Viola, holding her own with the likes of the Duke and Olivia, convincingly portraying both a girlish boy and a boyish girl that neither can resist. Freema Ageyman has a tremendous stage presence and her Olivia is a dream of a performance, conveying all the anger and frustration of her initial state of mourning, but quickly becoming foolishly besotted in love, whilst retaining her absolute authority over her wayward household.

Sir TobyBally Gill adds another superb portrayal to his growing list of Shakespearean successes, with a very human Duke Orsino, his measured superiority tempered by a hint of fallibility and foolishness. Joplin Sibtain’s Sir Toby is the very credible drunk uncle we all recognise from family weddings; not simply a fat fool but a mischief maker who doesn’t know when to stop until it’s too late. Demetri Goritsas portrays his companion Sir Andrew not as a vacuous fop but as an easily fooled wannabe hero who lacks any of the required depth or courage to achieve his ambitions.

CastDanielle Henry is a splendidly meddlesome Maria, delighting in taking charge of the below-stairs subterfuge; Norman Bowman plays Antonio as an altruistic soul who needs someone to follow, and Rhys Rusbatch’s Sebastian is the perfect recipient for his affection – a plain-talking, fearless type who’s more than capable of looking after himself in a fight and can’t believe his luck when Olivia mistakes him for Cesario.

FesteMichael Grady-Hall brings all his amazing clowning skills to a fantastic physically comic performance as Feste, with split-second precise timing, a wonderful rapport with the audience, and a broodingly haunting singing voice. By contrast, Samuel West invests Malvolio with a fittingly wheedling, whiny voice; a quietly judgmental nuisance who casts a shadow over any good mood until he falls for Maria and Sir Toby’s deception, which allows his true self to burst forth with a mixture of lasciviousness and misplaced self-confidence. Like all the best Malvolios, when he is humiliated and destroyed at the end, you truly feel sorry for him and have nothing but contempt for his tricksters. It’s a magnificent and memorable performance.

MalvolioThe show lasts a few minutes short of three hours but it’s so enjoyable and entrancing that it barely feels like two. One of those longed-for productions where every single aspect dovetails perfectly, creating a hugely rewarding experience. One of the best RSC productions in years, make sure you see it at the Royal Shakespeare Theatre before it closes on 18th January 2025.

P. S. Only one aspect of the production befuddled me – what was all that stuff about painting the sides of the set? First Fabian, then Feste? Answers on a postcard please, to Outrageous Directorial Decisions, PO Box 99, Illyria.

P. P. S. I love the work of Alan Ayckbourn, but you do realise that was tongue-in-cheek, don’t you?

Production photos by Helen Murray

Five Alive, Let Theatre Thrive!

Review – My Fair Lady, Curve Theatre, Leicester, 4th December 2024

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Artistic Director of the Curve Theatre, Nikolai Foster, has assembled a tremendous cast and team to present this year’s Curve Christmas show, that perennial favourite, My Fair Lady. Mr Foster has the ability to take a much-loved show and breathe fresh life into it, whether it needs it or not. His touring production of Grease was one of the highlights of this year, ironing out all the excesses that have become attached to it since it first appeared in the 70s by going back to the original. His hugely successful production of A Chorus Line from 2021, revived this summer, brought Zach the choreographer closer to the action and created a masterpiece of a finale; but also had the immensely annoying (and anachronistic) hand-held camera which destroyed the visual effect of many of the routines. So what will Mr Foster do to put his mark on (in my humble opinion) Lerner and Loewe’s finest two-and-a-half hours?

Answer: many things, and some of them work and some of them don’t. This My Fair Lady is presented on a truly grand scale. The Curve stage is a big place at the best of times, but Michael Taylor’s set is off the scale. The front door to Henry Higgins’ Wimpole Street home is located on a curve (no pun intended) round to furthest downstage left so that it’s aligned with row D of the stalls. The entrance to the pub is opposite, furthest downstage right. Higgins’ room has two staircases going up, creating additional acting space on landings way up high; and parts in the middle to open up and reveal further space way, way upstage. This production is nothing if not big.

However, some of this defies any environmental logic. For example, hopelessly in love Freddy waits outside the front door to catch a glimpse of Eliza whenever she leaves the house – but when she goes off to the ball with Higgins and Pickering she leaves through the upstage part of the set – thereby avoiding the front door where we can clearly see Freddy still pining. Surely they didn’t use the tradesmen’s entrance?

And that front door…. Sigh! Every time someone leaves Higgins’ room, there’s a fifteen second pause from when they exit the stage to their going in or out of the front door. That’s a front door with a very noisy slam. The noise creates a disturbance that takes your attention away from whatever is happening on stage. If it’s just a simple conversation, well, you can overlook it. But – for example – Mrs Pearce leaving Eliza to perform the luscious second chorus of I Could Have Danced All Night with a rotten great door slam in the middle of it is simply unforgivable. If you must have that front door, please fix a silent closing mechanism!

In fact, this production is a good example of revealing when less is more, and an over-egged pudding can be detrimental to the overall effect. Not a word of criticism for George Dyer’s splendid band but the music is simply over-orchestrated. Not only is it too loud and drowns out much of the singing, but it’s somehow just too detailed and full-on. An odd criticism of a musical I know, but frankly this production just has too much music. Too many notes, as Salieri says of Mozart in Peter Shaffer’s Amadeus.

This is often emphasised by the performance of David Seadon-Young as Higgins. Mr Seadon-Young is a great singer. Boy, can he whack out a number! He’s about as diametrically opposite of Rex Harrison as you could imagine, who talked his way through all his songs. When I think back of previous Higgins’ that I’ve seen on stage – Tony Britton at the Adelphi, Alex Jennings at Drury Lane – they adopted the largely talking style of performance. Only Dominic West at the sensational Sheffield Crucible production in 2013 did “proper” singing. But David Seadon-Young has musical theatre coursing through his veins and achieves notes and melodies that I never realised lurked beneath the surface of songs like Why Can’t the English or I’m an Ordinary Man. However, it often feels like a battle between him and the orchestra to nail the number rather than them working in tandem. Whilst I’m in the mood for criticism, the Ascot Gavotte is also overdone; Mrs Higgins’ over-the-top companions were pantomime posh and the horses – jockeys on hobby-horse toys – were just plain silly.

But – there are many directorial decisions that work extremely well. Stressing Pickering’s Indian associations, with both his domestic attire and his super-smart society ball costume, works perfectly with Minal Patel’s subtle and entertaining performance. And by characterising him as having a real mancrush on Higgins – perhaps even a little more than that – really makes sense. I’ve never understood in previous productions why Pickering is so attached to Higgins and the elocution process, in which he doesn’t really play an active role. But if he’s besotted with him, then it all falls into place.

There’s no hiding the brutality of the treatment of Eliza – we’ve always known the misogyny is there and that Higgins is a spoilt brat when it comes to his mistreatment of Eliza; but it’s very firmly emphasised in this production, frequently making you feel uncomfortable. It’s superbly presented in You Did It, where Eliza’s elation at her success at the ball progressively diminishes from her expression as Higgins and Pickering celebrate and congratulate each other and all the household staff without ever a word or a glance at her. This younger, super-indulged Higgins comes across as despicable in many ways, which is an interesting challenge for the audience. However, (spoilers, and all that) David Seadon-Young’s excellent characterisation reveals him to be, like all bullies, a pathetic wretch when confronted; and his rendition of I’ve Grown Accustomed to her Face ends with him curled up and bawling his eyes out as he realises that he’s driven away the only person who could ever love him. It’s incredibly moving. It does, nevertheless, make you question exactly why this Eliza, a shrewd, intelligent, confident young woman, decides to take him back. Looking to the future, I can’t see that this relationship is going to last.

Steve Furst is a very enjoyable Alfred P Doolittle, nicely manipulative and full of comedy; his leading the ensemble in With a Little Bit of Luck is certainly a highlight of the show. Djavan van de Fliert is thoroughly convincing as the useless but engaging Freddy, taking full control of the iconic On the Street Where You Live, as well as his silent but excellent physical comedic reactions to Eliza’s rendition of Show Me, for me possibly the most effective staging of any song in the show, perhaps due to its relative simplicity. There’s excellent support from Sarah Moyle as Mrs Pearce and Cathy Tyson as Mrs Higgins, both beacons of sense in a very mad world.

But Molly Lynch as Eliza is undoubtedly the star of the show, with her immaculate singing, precise diction and emotional characterisation. The packed audience were completely engaged in the performance throughout and gave it a very positive reaction; and My Fair Lady will be a welcome Christmas present from the Curve until 4th January 2025.

4-starsFour They’re Jolly Good Fellows!

Review – The Red Shoes, Royal Shakespeare Company at the Swan Theatre, Stratford-upon-Avon, 14th November 2024

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The 1948 film of The Red Shoes received mixed reviews at first, but over the years has acquired something of a cult status and a 2017 poll for Time Out magazine ranked it the fifth best British film ever. It is said to have inspired a generation of girls to become dancers, no doubt in part due to its extensive ballet sequences. However, am I alone in not realising that originally it was an 1845 cautionary fairy tale by Hans Christian Andersen? And that it’s chock-full of those gruesome elements you associate with Andersen or the Brothers Grimm?

Dinner partyNancy Harris’ reimagined Red Shoes transforms Andersen’s originally vain Karen into almost the opposite. So mortified is she by the loss of her mother, that she is mute with shock when first brought into the repugnant, wealthy Nugent household, dominated by the callous and self-serving Mariella. Kindlier, but distinctly under the thumb, is her husband Bob; their out-of-control son Clive, who is possessed with a desire to kill living animals and chop off body parts, spends most of his time harassing the poor girl. Only Mags, the housekeeper, expresses concern for Karen’s welfare.

KarenKaren’s weakness is that she is easily tempted. First, by the shoemaker Sylvestor, who offers her a pair of irresistible red shoes that cause her to dance with neither inhibition nor control. And when a dinner party turns into disaster because Karen’s shoes run rampage through the china and cutlery, Mariella condemns her to a life as a kitchen maid and providing care to poor Mags who has suffered a heart attack as a result of the shock of what Craig Revel Horwood might call a Dance Disaster. Today we’d see it as very bad parenting.

Mariella and MagsKaren is tempted again to go to a ball whilst she should be looking after the ailing Mags, where she meets Prince who encourages her to stay out late dancing. Result: the old lady dies and it’s all Karen’s fault. The cautionary aspects of the original tale are clearly pushed to the forefront, with Karen feeling the full force of retribution for her selfishness. However, for me, the deliberate weaving of Karen’s story with the Cinderella tale – kitchen maid, ball, Prince, missing shoe – means that neither side is fully explored.

KarenOverall, the whole vision for the play feels a little messy. For example, we seem to be partly in a Victorian era, when you could take in an orphan to your household without any paperwork, and there is an orphans’ committee that the snobbish Mariella wants to impress; and yet Bob Nugent is making business deals on his mobile. The play is accompanied by a full score performed by Tom Slade’s superb team of seven musicians, but it’s not a musical as such, and sometimes the music almost overwhelms what’s happening on stage. Given the shoes are magical, there are a few “magic” moments in the show – although I would have hoped for a little more; however, I can report that Ryan Day’s lighting design is excellent, with the auditorium being bathed in red light at the beginning and providing some impressive eerie effects, and Colin Richmond’s set features a grand mirror of positive affirmation and a splendidly sanctimonious family portrait. And there is some delightfully outrageous footwear.

SylvestorNikki Cheung uses her skills to give us a Karen who is most at ease when giving in to the compulsion to dance, one of the highlights of the production. Dianne Pilkington’s monstrous Mariella is a marvellous comedy hypocrite, moaning about how slapping an orphan isn’t a great look in front of the chair of the Orphans’ committee, and accounting for the antisocial (not to mention illegal) behaviour of her dreadful son by virtue of his being artistic. Sebastien Torkia portrays Sylvestor as eerie and sinister, a Master Magician strangely controlling Karen’s destiny; and there’s a delightful burst of sanity from Sakuntala Ramanee as Mags, the only truly decent person in the story.

Dance Disaster DarlingI found this a strangely cold and unmoving production. I felt no connection with any of the characters – not even Karen; in fact some of them repelled me so much that I couldn’t even see their “funny side”. There are a few great lines, and a couple of lively scenes – but even so, although the chaotic dinner party in Act One is superbly choreographed as a piece of slapstick entertainment, the execution of it wasn’t as crisp as it required. The show doesn’t feel very “Christmassy”, and there’s scarcely a resemblance to the famous film. It’s quite successful as a modern re-telling of a cautionary tale with all its mental and physical cruelty, but as family entertainment there’s a lot of content that I found disturbing, let alone how a young child might react. Despite its obvious qualities and the calibre of its cast, I’m afraid this one didn’t quite do it for me.

Production photos by Manuel Harlan

3-starsThree-sy Does It!